Smallville Episode X01 Night
by Backward Galaxy
Summary: Episode 1 of 10 of a series of Smallville related fan scripts. In this episode, Bruce Wayne visits Smallville. Originally written during the second season.


SMALLVILLE  
Episode 01  
  
"Night"  
  
INT. THE TALON  
  
The words "Twelfth Night" are delicately traced into an old gray book cover. We zoom out to see Chloe Sullivan with Shakespeare's play in one hand and a pencil in the other. A red book-bag sits open on the table next to her, various papers and pencils poking out from inside the zipper. From behind her, the lovely Lana Lang walks by holding a server tray with two mugs on it.  
  
LANA  
  
::whisper:: Chloe. that guy over there's been eyeing you ever since you came in.  
  
Chloe adeptly steals a quick glance at a young gentleman, not much older than she, sitting across the Talon at another table. He is dressed in a dark suit, notably similar to something you might find a person of Lex Luthor's stature wearing, silently reading one of the local newspapers.  
  
CHLOE  
  
I know. I haven't been able to get any work done. ::smiling:: Isn't he gorgeous?  
  
LANA  
  
So are you going to go over there or not?  
  
CHLOE  
  
I can't, ::motions towards the book she's reading:: I'm waiting for Clark.  
  
Awkward silence.  
  
CHLOE  
  
. to show up so we can work on our report.  
  
LANA  
  
Well, I don't see Clark anywhere, do you? You should go over there.  
  
Lana grabs hold of one of the mugs on the tray she's carrying and places it in front of Chloe.  
  
LANA  
  
Here. He just ordered another coffee, dark. Why don't you take it over to him?  
  
Chloe is indecisive, biting her inner lip as she weighs her options.  
  
CHLOE  
  
::shrugs:: Yeah, why don't I?  
  
Smiling, Chloe grabs the mug, leaving the book and pencil behind. The pencil slowly rolls along the table, chattering as it rotates over its grooves. Lana stands up and smiles, eyeing Chloe's approach, as the young owner of the Talon walks back behind her counter.  
  
Anticipating her approach, the young gentleman places the newspaper down and smiles.  
  
CHLOE  
  
Hi, ::pause:: here's your coffee. The waitress asked me to bring it over for her. She's a little swamped at the moment.  
  
An awkward silence is intensified by the conspicuous quiet that echoes through the, nearly empty, Talon. To her credit, Lana attempts to look busy behind the counter as the gentleman spies her from behind Chloe's outstretched hand and mug.  
  
Realizing her mistake, Chloe again chews at her inner lip but is calmed as the gentleman graciously accepts the mug with a genuine smile.  
  
BRUCE  
  
I can see that, ::raises mug:: thank you.  
  
Fearing any potential lull in their budding conversation, Chloe introduces herself.  
  
CHLOE  
  
I'm Chloe by the way.  
  
BRUCE  
  
It's a pleasure to meet you, Chloe. I'm Bruce.  
  
Unfortunately, the pleasantries do little to avoid the break, and a short silence between them ensues.  
  
BRUCE  
  
So. Shakespeare, huh? I'm guessing there's an English teacher laughing rather sadistically in their office right about now.  
  
CHLOE  
  
It's not so bad, really. I'd already read it six times so.  
  
BRUCE  
  
Six times? ::laughs:: Well then you have a higher tolerance for pain than I do.  
  
Chloe sits at in the seat across the table from Bruce. Bruce's remarks enable the young journalist to break through her initial shyness, Chloe's spry fervor slowly making its way to the surface.  
  
CHLOE  
  
What does that mean?  
  
BRUCE  
  
It's not one of Shakespeare's better plays.  
  
CHLOE  
  
How can you say that? It's one of his best. It's intriguing, suspenseful, and not only that it's something that people can actually relate too today, even though it was written 400 years ago.  
  
BRUCE  
  
A story about a woman who dresses up like a boy and ends up falling in love with the man she works for?  
  
CHLOE  
  
::shaking her head:: But the real story is in how she's torn apart by his love for another woman, and how there's nothing she can do about it because of her secret.  
  
BRUCE  
  
Sure there is, ::slight pause:: she could tell him.  
  
CHLOE  
  
You're oversimplifying the situation a little, don't you think?. Things aren't always as cut and dry as that.  
  
BRUCE  
  
You're right ::nods::. It's much more complicated then that, but only because of her lies, which mind you, she tells only because of her own selfish wants and desires in the first place.  
  
Bruce's challenge doesn't go unnoticed as Chloe's eyes open ferociously wide.  
  
CHLOE  
  
Well, if that isn't a male chauvinist attitude if I've ever heard one. You'd call her selfish just because she wants to have a decent job in a time when women are considered little more than slaves to an egomaniacal male population?  
  
BRUCE  
  
I don't believe deceiving the people you care about is the way to get what you want.  
  
CHLOE  
  
So, I suppose you would've just let her slave over an oven the entire day. That is, in between hand washing loads of laundry, taking care of the children, and catering to her man's every whim.  
  
Chloe's voice carries, enough to tell Lana that their conversation isn't going as well as she'd planned. She cringes from behind the counter and makes herself busy as Clark Kent innocently walks up to the counter, backpack wrapped over one shoulder.  
  
CLARK  
  
Hey, Lana.  
  
LANA  
  
Hey, Clark.  
  
CLARK  
  
Is Chloe here? I'm supposed to meet her to work on our English project.  
  
Lana motions over Clark's shoulder.  
  
LANA  
  
She's over there. ::shaking her head:: about to bite that poor guy's head off.  
  
LEX  
  
I didn't realize you were adding "billionaire's heads" to the menu, Lana.  
  
Creeping in from behind Clark, the suave Lex Luthor stares blankly at the two teens.  
  
LEX  
  
Maybe I should quietly sneak out the back before anyone notices this one's already been skinned.  
  
Lex jokes, moving one hand over the bare skin of his head.  
  
CLARK  
  
I take it you know that guy.  
  
LEX  
  
Of course I know him, Clark. He's in town to see me.  
  
CLARK  
  
He is?  
  
Lana, just catching on to Lex's initial statement, places the glass she's cleaning down on the counter.  
  
LANA  
  
Wait a minute, did you say billionaire?  
  
LEX  
  
::nods:: That gentleman over there, whom your friend Chloe is currently in the process of ripping a new one, is none other than Bruce Wayne.  
  
A silent, metaphorical, thud rings out as Clark and Lana's jaws drop in unison.  
  
CLARK  
  
That's "Little Boy Billionaire" Bruce Wayne?  
  
LEX  
  
Gotham City's own, all grown up. Seriously though, Clark, if you could run over there and pull the leash a little ::p ulls imaginary leash::, LuthorCorp's looking into a possible partnership with Wayne Enterprises that could be worth hundreds of billions of dollars. I think Chloe's killing him might hinder that process just a bit.  
  
Clark swallows, removing his backpack from over his shoulder and placing it on the counter.  
  
LANA  
  
Good luck.  
  
CLARK  
  
Yeah, right.  
  
Chloe continues to berate the billionaire as Clark Kent gingerly maneuvers his way over to their table. Oddly enough, Bruce actually appears amused by the verbal abuse Chloe continues to shell at him.  
  
CLARK  
  
Chloe, can I talk to you for a minute?  
  
Clark is careful to acknowledge Bruce, giving him a quick, and polite, smile and nod. Chloe merely shrugs him off.  
  
CHLOE  
  
Just a second, Clark. And another thing, how dare you even suggest that.  
  
CLARK  
  
::insistent:: Chloe, I really need to talk to you about something.  
  
Chloe huffs, clearly not yet satisfied with her 'appraisal' of Bruce's critique.  
  
CHLOE  
  
Don't go anywhere, I'm not finished.  
  
BRUCE  
  
::smiling:: Wouldn't dream of it.  
  
Chloe stands up and Clark carefully, but forcefully, places his hand on her arm and issues her a couple of steps away from the table. Chloe swats Clark's hand away.  
  
CHLOE  
  
What is it, Clark?  
  
CLARK  
  
Chloe, do you know who that is?  
  
CHLOE  
  
Yeah, he's a male chauvinist pig. Why?  
  
CLARK  
  
Chloe, that's Bruce Wayne.  
  
Another awkward pause as Chloe's mind works at this new piece of information. She steals a glance back at Bruce. The young man merely smiles and waves from his seat.  
  
CHLOE  
  
::looking back at Clark:: Oh... my god.  
  
Clark nods as the much shorter blonde hangs her head and brings up her fist, gingerly laying the side of it on his chest, as if to hold up what's left of her dignity. She turns back to face Bruce, immediately falling into 'pathetic grovel' mode.  
  
CHLOE  
  
Mr. Wayne, I am so sorry. Had I known who you were.  
  
Bruce stands up, shaking his head and smiling.  
  
BRUCE  
  
You would've what, been less passionate about your arguments? Humored me, agreeing with everything I said just because of my name? Relax. You made some excellent points, almost all of which I happen to agree with.  
  
Chloe brow contracts in confusion.  
  
BRUCE  
  
Actually, Twelfth Night is one of my favorite plays. I own one of the earliest printed copies.  
  
Bruce smiles again.  
  
BRUCE  
  
And I've read it eight times.  
  
Chloe smiles, somewhat failing to conceal the embarrassment still embedded into her expressions. At this point, Lex seizes his opportunity and walks in from behind Clark, extending his hand to Bruce.  
  
LEX  
  
Bruce, glad you could make it.  
  
The practiced smile of the billionaire playboy flattens as he shakes Lex's hand.  
  
BRUCE  
  
::looks at his watch:: Same to you, Lex, you're late.  
  
LEX  
  
Oh, you know how it is, Bruce, things always pop up at the office at the most inconvenient times. I am sorry, though.  
  
BRUCE  
  
Oh really? ::the smile returns:: So you're sure you weren't just letting me wait in an unfamiliar environment as long as possible so you'd have the upper hand?  
  
Clark and Chloe fight to suppress a laugh. Out of place, their feet simply aren't willing to let the rest of their bodies' miss this little sparring session.  
  
LEX  
  
I see you've read my father's book.  
  
BRUCE  
  
Not exactly a page turner, but I managed. Luckily, this very beautiful woman showed up to keep me company.  
  
Bruce smiles at Chloe, who blushes. Meanwhile, Clark whispers a near inaudible "oh please" under his breath which only Chloe seems to catch. Behind her back, she pinches him.  
  
CLARK  
  
::soft, shooting Chloe a dirty look:: Ow.  
  
BRUCE  
  
She's very smart. she on your payroll?  
  
LEX  
  
No, but her father is.  
  
BRUCE  
  
Really? I wonder, if I doubled his salary, do you think he'd come and work for me?  
  
LEX  
  
::staring at Bruce:: Chloe, tell your father he just got a raise.  
  
CHLOE  
  
(to Clark) Ok, what just happened?  
  
CLARK  
  
::shakes head:: I have no idea.  
  
BRUCE  
  
Don't like to lose, do you Lex?  
  
LEX  
  
I wouldn't know. I don't have much experience in the field.  
  
There is a long pause as the two businessmen stare each other down, daring smiles firmly entrenched on each of their faces.  
  
LEX  
  
Well, since you've already had your coffee, perhaps you'd like a tour of the plant. Shall we go?  
  
BRUCE  
  
My car's outside.  
  
LEX  
  
Really? I've got a Ferrari 360 F1 Modena.  
  
Bruce laughs.  
  
BRUCE  
  
Nice automobile, but I prefer something with a little bit of speed. I brought the Enzo.  
  
Lex is trumped as the two make their way towards the door. Before they exit, though, Chloe jumps and tries to get their attention.  
  
CHLOE  
  
Uh, Mr. Wayne.  
  
Bruce immediately stops in his tracks, turning to face her.  
  
BRUCE  
  
Chloe, call me Bruce.  
  
Chloe smiles.  
  
CHLOE  
  
Ok, Bruce. I was wondering. I'm the editor of Smallville High's newspaper, the Torch. I know we kind of got off on the wrong foot but, I was wondering if you'd be willing to sit down for an interview while you're in town. It'd make a great article for the paper.  
  
BRUCE  
  
Well I'm sorry, Chloe, I've kind of made it a point not to do any personal interviews.  
  
CHLOE  
  
::disappointed:: Oh. I see.  
  
BRUCE  
  
Although, there's a little restaurant in Metropolis, called "Night Time", I've heard good things about. If you'd be willing to join me for dinner, I might be willing to go on the record about a thing or two.  
  
Rather presumptuously, Bruce walks up to her and smiles, waiting for an answer he seems confident he's going to get. Clark is stunned and goes to say something, but Bruce maneuvers himself in front of the slightly taller farm boy. It's not entirely clear if this was done intentionally or not.  
  
BRUCE  
  
So, what do you say?  
  
Staring into playboy Bruce Wayne's eyes and saying 'no' doesn't appear to be an option at this point, not that the thought of declining appears to ever cross Chloe's mind.  
  
CHLOE  
  
Sure, why not?  
  
BRUCE  
  
Great, I'll pick you up here, at six. You don't mind flying do you?  
  
CHLOE  
  
::confused:: What?  
  
BRUCE  
  
Well, I figured we'd take the helicopter. ::devilish grin:: It's faster.  
  
CHLOE  
  
No. I. don't mind at all.  
  
BRUCE  
  
I'll see you tonight then.  
  
Bruce smiles and turns, walking back towards the Talon exit and right passed Lex. The young Luthor looks at Clark and, after the two stare at each other for a moment, simply shrugs. Lex follows Bruce at the Talon door.  
  
Meanwhile, still standing in place, Chloe looks like she's been shell- shocked. Although, to be fair, Clark seems just as surprised as she does. and a little bit concerned.  
  
EXT. THE TALON - DAY  
  
Outside the Talon, two sporty Ferrari's peel off down the road as Jack, a mysterious onlooker with a suspicious smile, observes them from a safe distance.  
  
EXT. NIGHT TIME RESTAURANT - NIGHT  
  
A flash of light illuminates a green street sign, the name "West Adam Street" carefully bolded into the face. A long red carpet sneaks out onto the sidewalk beneath a well-lit overhang as a long black limousine pulls up in front of the extravagant restaurant entrance.  
  
The street lights dart across the shiny black paint of the driver door as Alfred Pennyworth steps out of the limo. The elderly gentleman takes a moment to adjust his hat, the jet black gloves perfectly melding into its octagonal sides for a slight maneuver. Carefully, but briskly, Alfred walks around the front of the limousine and opens the passenger door, keeping himself behind it as it opens outward. Bruce Wayne, dressed in an exquisite Armani, steps out and takes a long breath of the crisp Metropolis air.  
  
Ever the gentleman, Bruce lends his hand to Chloe, as the young farm-girl steps out of the limousine. Despite several lavishly dressed women littering the scene, Chloe's simple but elegant navy blue dress and tightly wrapped hair prove that price does not necessarily equal taste or beauty.  
  
Alfred shuts the door to the limousine.  
  
BRUCE  
  
Thank you, Alfred.  
  
ALFRED  
  
Of course, sir. Shall I wait for you here or back at the hotel?  
  
Bruce looks around for a moment, as if surveying the entire block.  
  
BRUCE  
  
There seems to be enough here to keep us occupied for a while. I'll leave it to your discretion. The hotel isn't that far anyway.  
  
ALFRED  
  
::slight nod:: Very well, Master Bruce.  
  
Slowly, Alfred makes his way back towards the driver side of the limo and gets in. As he drives away, Chloe looks at Bruce and smiles.  
  
CHLOE  
  
Master Bruce?  
  
BRUCE  
  
::shrug:: I keep telling him he doesn't have to call me that.  
  
Smiling, Bruce raises his right hand to his waste, allowing his elbow to jut to the side.  
  
BRUCE  
  
Shall we?  
  
Chloe returns his smile, slipping her arm underneath Bruce's, allowing him to escort her inside.  
  
INT. NIGHT TIME RESTAURANT  
  
A rather snobby looking maitre d' stands guard in front of the dining hall.  
  
BRUCE  
  
Reservations for Wayne.  
  
Suspicious at first, probably because of their age, the maitre d' scans down the list of reservations with a well bleached glove. Running his finger across the name Wayne, his expression immediately changes to one that is warm and welcoming, and he gestures for someone to come and seat them.  
  
MAITRE D'  
  
Ah yes, Mr. Wayne, we've been expecting you.  
  
"Night Time" is a candlelit restaurant, with several small circular tables spread out across a massive dining hall. A small orchestra plays in front of a sheen dance floor where two elderly couples gingerly slow dance to some classical masterpiece. Beautiful centerpieces with light floral arrangements sit slightly off center at each table, as the young man escorts Bruce and Chloe to their table.  
  
SEATER  
  
Your waiter will be with you in a moment, sir.  
  
BRUCE  
  
Thank you.  
  
The two sit, the young seater pulling out Chloe's chair for her as courtesy. As the young man walks away, Chloe takes several looks around. Her expressions hint that something is clearly bothering her.  
  
BRUCE  
  
Are you all right? You look. uncomfortable.  
  
CHLOE  
  
No, no I'm great.  
  
She isn't a very good liar. Bruce raises an eyebrow.  
  
CHLOE  
  
Ok. maybe a little overwhelmed. All this is just so extravagant. I guess Cinderella just feels a little out of place with her glass slippers she bought from Payless a couple of hours ago.  
  
BRUCE  
  
I'm sorry. I didn't mean to make you feel uncomfortable.  
  
CHLOE  
  
::sarcastic but not mean:: Oh really? So you didn't take me for a ride in your own personal helicopter and then bring me to the most lavishly expensive restaurant in all of Metropolis so you'd have the upper hand?  
  
BRUCE  
  
::blushing slightly:: Touché.  
  
Chloe smiles at her catching him. She took great satisfaction in that, especially seeing the billionaire hide behind the specials menu.  
  
CHLOE  
  
I just love these centerpieces. I wish I knew what kind of flowers these are.  
  
BRUCE  
  
Azalia - Tsutsuji.  
  
CHLOE  
  
What?  
  
BRUCE  
  
Azalia - Tsutsuji. They're Japanese.  
  
CHLOE  
  
How did you know that?  
  
BRUCE  
  
Cause I bought 'em in Japan.  
  
Chloe appears confused.  
  
BRUCE  
  
I took a trip to the Orient last summer. business purposes. They were all over the hotel. I liked them, so I brought some home with me and had Alfred plant them in the garden.  
  
CHLOE  
  
Oh.  
  
BRUCE  
  
I'm sorry. I did it again, didn't I?  
  
CHLOE  
  
No, it's all right... really. I'm just not used to all this. Smallville isn't exactly the culture hub of the planet.  
  
BRUCE  
  
It doesn't seem so bad to me.  
  
CHLOE  
  
It isn't. I just sometimes think that my only link to the outside world is through a modem and a telephone line. It's kind of frightening.  
  
BRUCE  
  
How is it frightening?  
  
CHLOE  
  
Well, I mean as far as I know the world is just a high school surrounded by miles and miles of cornfields. Sometimes I wonder if the rest of the world is just some elaborate hoax put together by textbook writers and postcard distributors.  
  
BRUCE  
  
::barely audible:: Sometimes I wish it were.  
  
CHLOE  
  
What?  
  
BRUCE  
  
::shrugs:: Nothing.  
  
CHLOE  
  
Oh. Well, anyway, I just don't know if life in Smallville is giving me the preparation I need if I want to be a reporter for the Daily Planet.  
  
BRUCE  
  
No one expects you to unravel major federal conspiracies or topple corrupt multi-national corporations with your articles in a high school newspaper, Chloe.  
  
CHLOE  
  
I know.  
  
She smiles rather devilishly.  
  
CHLOE  
  
Still, that would look good on a resume.  
  
They laugh which, for a moment, ends the conversation. As if obsessively compelled to keep the conversation moving, Chloe leans in.  
  
CHLOE  
  
So. What are you afraid of?  
  
BRUCE  
  
::confused:: What am I afraid of?  
  
CHLOE  
  
A question for a question. Now that we've discovered the deepest hidden fears of farm-girl, wannabe reporters, what do billionaire, playboy, businessmen fear?  
  
He hesitates. For the first time, Bruce is the one who appears uneasy. Adeptly looking for an out, Bruce looks over to the dance floor and smiles. Taking her hand in his, he stands and steps next to her.  
  
BRUCE  
  
Would you like to dance?  
  
She smiles up at him and stands.  
  
CHLOE  
  
I'd love too.  
  
Carefully, the two walk, hand-in-hand, over to the small wooden dance floor. Very gracefully, very softly, Bruce lays one hand on Chloe's waste as the two slowly begin to rock to the ginger beat.  
  
CHLOE  
  
This doesn't get you out of answering my question you know.  
  
BRUCE  
  
I don't suppose I can take the fifth.  
  
CHLOE  
  
I'm a reporter, not a lawyer, totally different type of scab.  
  
Bruce smiles, still hesitant. After a while, though, she becomes impatient.  
  
CHLOE  
  
Come on, let's have it.  
  
BRUCE  
  
::deep breath:: Let's see. What am I most afraid of.?  
  
There is a long pause as he thinks to himself. Finally, he looks straight into her eyes and very succinctly replies.  
  
BRUCE  
  
Myself.  
  
CHLOE  
  
::confused:: Yourself?  
  
BRUCE  
  
I have a temper that's gotten me into a little bit of trouble in the past.  
  
CHLOE  
  
::curious:: For example.  
  
BRUCE  
  
You met Alfred.  
  
CHLOE  
  
::nod:: Your limo driver.  
  
BRUCE  
  
Alfred's much more than just my limo driver. He's the closest thing I have to family. Once, after a particularly bad day at school, I came home in a pretty bad mood. Alfred had been busy around the Manor and he asked me to clean up a mess I had left in the kitchen, from earlier that morning, that he hadn't been able to get too.  
  
Bruce pauses and silently laughs at himself.  
  
BRUCE  
  
I told him, "You're the butler, you do it."  
  
CHLOE  
  
Harsh. Did he get angry?  
  
BRUCE  
  
Alfred's not really the yelling type. He stopped what he was doing and came over and asked me what was wrong. I told him to "leave me the hell alone," and I stormed off to my room and slammed the door.  
  
Again, Bruce pauses, this time attempting to gauge Chloe's reaction. Apparently satisfied with her having not run off and out the door, he continues.  
  
BRUCE  
  
The thing was. he followed me. He'd never done that before. Alfred's always been more of the kind of person to let you work your problems out on your own, but be there if you needed a shoulder to lean on or an ear to talk too.  
  
Chloe nods, and smiles, listening intently.  
  
BRUCE  
  
When I got to my room, ::smiling:: as any normal testosterone driven member of the species would, I immediately looked for something to break.  
  
They laugh a little.  
  
BRUCE  
  
So I grabbed this little statue that was on the fireplace and I turned around and I hurled it as hard as I could back at the door.  
  
Bruce swallows and hesitates.  
  
BRUCE  
  
Now you have to understand, the room had actually been my parents' room and my father had been a collector of rare arms and exotic weapons from all over the world. It was kind of his thing. Mounted above the door, in this glass case, was this old, extremely sharp, Samurai sword. The statue hit the case just as Alfred opened the door.  
  
Behind them, the two other couples on the dance floor, leave for their seats as the orchestra stops playing. Neither Bruce nor Chloe seem to notice, and they continue to dance to nothing.  
  
CHLOE  
  
What happened?  
  
BRUCE  
  
The glass shattered. The sword fell. An inch or two to the right and it would've killed him.  
  
She is concerned as she observes the hurt still clearly embedded in his eyes. He shrugs it away, though, attempting to make light of the matter.  
  
BRUCE  
  
Two-hundred and fifty stitches, five years of apologizing, and ::smiles:: several anger management classes later, I've learned that it's true what they say about you being your own worst enemy.  
  
Bruce and Chloe stare into each other's eyes for a moment. Somehow, they seem to be having an entire conversation just with their eyes.  
  
BRUCE  
  
You're not going to write about this in your article, are you?  
  
As if genuinely unaware of what he's talking about, Chloe responds.  
  
CHLOE  
  
What article?  
  
Looking over his shoulder, Bruce suddenly seems to realize the music has stopped playing.  
  
BRUCE  
  
Well, it looks like the music's stopped. Maybe we should go sit down.  
  
CHLOE  
  
Yeah.  
  
As if snapping out of a trance.  
  
CHLOE  
  
I mean, yeah! ::smiling:: I'm getting hungry.  
  
Together, they go and sit down, passing by the maitre d' as they make their way to their table. Meanwhile, the maitre d' walks up to a specific table where a single well dressed man is seated, though we cannot see his face.  
  
MAITRE D'  
  
::to mystery man:: I'm sorry, sir, but we've just received a phone. Mr. Luthor regrets he will be unable to join you this evening, but sends word that you are more than welcome to indulge yourself. He will accept full charges.  
  
The mysterious man takes a long, deep, breath and then stands. Over the maitre d's shoulder we now see that this mystery man is Jack, the same person who was previously seen outside the Talon  
  
JACK  
  
::big grin:: Thank you, my good man, but that won't be necessary. I think I've indulged enough for one night.  
  
MAITRE D'  
  
Very well, sir.  
  
The maitre d' walks off, escorting Jack out of the dining hall, directly passed the table where Bruce and Chloe are seated.  
  
INT. LEX LUTHOR'S MANSION - LEX'S OFFICE  
  
The logo for Wayne Enterprises sits proudly in the upper right hand corner of a laptop viewscreen. The rest of the screen shows a list of names of people and various companies with dollar amounts alongside them.  
  
Lex Luthor reads the data on the screen with heightened interest, a very serious expression chiseled into his face.  
  
LEX  
  
Well, Mr. Wayne, it seems you have been very busy.  
  
INT. CLARK'S HOUSE  
  
The Daily Planet's front page headline reads "Ferris Aircraft Launches Historic Test Flight". Jonathan Kent carefully puts the newspaper down and lets out a frustrated huff. Martha merely rolls her eyes as her husband, once again, makes a trip to the bottom of the stairs.  
  
JONATHAN  
  
Clark, hurry up and get down here. You're going to miss the bus.!  
  
He waits for a moment, listening for a sound. Eventually, he gives up, merely shaking his head as he sits back down to his breakfast and paper.  
  
JONATHAN  
  
.again.  
  
MARTHA  
  
He's missed the bus before, Jonathan.  
  
JONATHAN  
  
I know, but having super speed doesn't give him an excuse for being lazy.  
  
A roar shoots over the house as if a jet were landing on the roof. Clark suddenly appears sitting at the table, hurriedly eating his breakfast.  
  
CLARK  
  
Sorry, Dad. I didn't realize what time it was.  
  
JONATHAN  
  
::sarcasm:: Something wrong with your alarm clock?  
  
Clark shakes his head as he struggles to swallow.  
  
CLARK  
  
Pete and I stayed late at the Talon last night helping Lana clean up. You know how she likes to keep the place open later on the weekends.  
  
MARTHA  
  
I thought you were with Chloe working on your English project.  
  
CLARK  
  
::shakes head:: She totally bailed on me to go out on a date with Bruce Wayne. I couldn't believe it. You should have seen this guy, Dad, the way he was sweet talking her. All he had to do was mention the word 'helicopter' and she turned to silly putty.  
  
Jonathan and Martha exchange a worried glance, carefully disguising it from Clark.  
  
MARTHA  
  
Bruce Wayne?  
  
CLARK  
  
Yeah, he's in town negotiating some kind of business deal between his company and LuthorCorp. Lex was telling me about it.  
  
JONATHAN  
  
I'm really surprised Gabe Sullivan would trust someone like that with his seventeen year old daughter.  
  
Clark pauses.  
  
CLARK  
  
What do you mean 'someone like that'?  
  
An awkward silence ensues. Clark sizes up his father's expressions and recognizes them quickly.  
  
CLARK  
  
This isn't another case of my dad having an innate distrust of anyone with a billion dollar bank roll is it?  
  
JONATHAN  
  
No. It's just that Bruce Wayne is.  
  
Jonathan looks towards Martha for some help.  
  
JONATHAN  
  
Well, he's just.  
  
He struggles to find a tactful response. Martha to the rescue.  
  
MARTHA  
  
. so much older than Chloe.  
  
CLARK  
  
He's only two years older, mom. Dad's got you by.  
  
JONATHAN  
  
::interrupting:: The point is, Bruce Wayne just has something of a reputation, that's all.  
  
CLARK  
  
What kind of reputation?  
  
They hesitate.  
  
MARTHA  
  
Let's just say that, for a nineteen year old, Bruce Wayne has already had some rather high profile relationships.  
  
CLARK  
  
You don't think this is anything I should be worried about, do you?  
  
Silence. Clark's eyes ask the question for him a second time.  
  
Slowly, Martha takes Clark's hand and leans in and over the table towards him.  
  
MARTHA  
  
Clark.  
  
Clark leans in.  
  
MARTHA  
  
.You just missed the bus.  
  
It takes a moment to sink in. With a sigh, Clark relinquishes his hand and grabs his backpack, hurriedly walking towards the door.  
  
EXT. CLARK'S HOUSE - MORNING  
  
Clark Kent runs outside his house and down the porch stairs, backpack slung over his shoulder. He sees the bus driving down the end of his road, clouds of dust in its wake, and sighs. With an arrogant grin, Clark prepares to dust the bus with his super speed when he suddenly stops himself, looking over his shoulder.  
  
A red Ferrari pulls up alongside Clark. Lex Luthor rolls down the window, pushing the sunglasses to the top of his head.  
  
LEX  
  
Get in, Clark, we need to talk.  
  
INT. LEX'S FERRARI  
  
Trees and fence posts dart passed the windows as Lex, apparently having forgotten Jonathan Kent's suggestion from a year ago, speeds down some scenic roadway.  
  
LEX  
  
Have you heard from Chloe since last night?  
  
CLARK  
  
No, I haven't. Why?  
  
LEX  
  
Listen, Clark, I want you to stay away from Bruce Wayne and I'd advise your friend Chloe to do the same if I were you.  
  
CLARK  
  
I take it you don't like him either?  
  
LEX  
  
Either?  
  
CLARK  
  
::shrugs:: My parents.  
  
LEX  
  
Well, I haven't necessarily agreed with every assessment they've ever made, but in this case they're right. Bruce Wayne is bad news.  
  
CLARK  
  
Could you be a little more specific?  
  
LEX  
  
The world is just a big game to him, Clark, and he uses people as his pawns. He's a manipulating, conniving, self-serving son of a bitch.  
  
CLARK  
  
You think he's using Chloe? What for?  
  
Lex cringes at the question, as if offended he has to answer it.  
  
LEX  
  
What do you think?  
  
CLARK  
  
A girl in every port?  
  
LEX  
  
In his case two or three. Don't let that phony smile and Armani suit fool you. I've seen them all, Clark, and Wayne is as bad as they come. Chloe's nothing but a distraction to him, while he's here in Smallville.  
  
CLARK  
  
I don't get it. I thought you said he was in town to do business with LuthorCorp. I thought you liked the guy.  
  
LEX  
  
Keep your friends close and your enemies closer.  
  
Lex, once again, cringes. He even blushes a little.  
  
LEX  
  
I know, it's cliché, but the hackneyed and overused tend to be that way for a reason.  
  
Clark wears a wary expression as his Kryptonian brain processes the new information.  
  
CLARK  
  
Why didn't you tell me this earlier?  
  
LEX  
  
Honestly? Chloe's never struck me as being that naive. She always seemed like the smarter stooge.  
  
Clark raises an eyebrow at the reference, but lets it go without objection.  
  
LEX  
  
I figured she'd see right through his fake charm. ::disappointed:: Obviously, I was wrong.  
  
Clark continues to ponder his thoughts as Lex's Ferrari pulls into the High School parking lot.  
  
CLARK  
  
I don't know how I'm going to tell Chloe.  
  
The Ferrari comes to an abrupt stop behind some buses discharging the newest class of freshmen, sophomores, and less fortunate upper classmen.  
  
LEX  
  
As soon as possible if you know what's good for her.  
  
Clark carefully steps out of the Ferrari, shutting the door behind him with appropriate force. Lex leans across the passenger seat to garner Clark's attention from through the open passenger window.  
  
LEX  
  
Remember, the longer the snake bites you, the longer it has to infect you with its poison.  
  
Clark nods and takes a deep breath, the proverbial "weight of the world" firmly placed upon his shoulders.  
  
CLARK  
  
Thanks for giving me the heads up, Lex. You're a good friend.  
  
LEX  
  
Just be careful around Wayne. He's used to getting his way.  
  
CLARK  
  
::nods:: I will.  
  
Lex drives away, leaving Clark with the daunting task of breaking the news to Chloe. The future man of steel suddenly looks very small.  
  
INT. THE TORCH  
  
Clark enters the Torch office, closing the door behind him. To his surprise, Bruce Wayne stands in front of Chloe Sullivan, his hands holding her arms affectionately. The billionaire smiles warmly as he gazes down into the eyes of the chipper, vertically challenged, young blonde.  
  
BRUCE  
  
I'll see you tonight then.  
  
She smiles and closes her eyes as he gives her a quick kiss to the cheek. Turning, Bruce barely acknowledges Clark's presence until he has to pass him to get to the exit.  
  
BRUCE  
  
::quickly but politely:: Clark, good to see you again.  
  
CLARK  
  
::nods:: Bruce.  
  
Chloe lets out an uncharacteristic, openly conspicuous, sigh as she melts down into her desk chair. Clark utilizes his super strength to keep his eyes from rolling out of his head.  
  
CLARK  
  
A little early isn't it?  
  
CHLOE  
  
Don't worry, Clark. He was just here for that interview he promised me.  
  
Clark moves towards her and sits on the edge of the desk.  
  
CLARK  
  
I thought you were going to do that on your date last night.  
  
CHLOE  
  
I was. but by the end of it, despite spending nearly five hours with him, I realized I'd forgotten to ask any questions.  
  
She blushes, her cheeks sitting above the smile that stretches from ear to ear.  
  
CLARK  
  
I take it the date went well then?  
  
CHLOE  
  
It was. ::long exhale:: perfect.  
  
CLARK  
  
And you're seeing him again tonight?  
  
CHLOE  
  
Yup, he's taking me to see "The Phantom of the Opera" at the Metropolis off- Broadway theatre. It's not one of my favorites, but I've never actually been to the theatre before.  
  
CLARK  
  
And what about the fact that we're supposed to work on our English project tonight? It's due tomorrow you know.  
  
CHLOE  
  
::shakes it off:: No worries, I finished it this morning.  
  
Clark hesitates, surprised.  
  
CLARK  
  
You finished it?  
  
CHLOE  
  
Yeah, after Bruce dropped me home last night I just couldn't get to sleep for some reason, so I stayed up and worked on it. I'll drop it by your house after school, so you can look it over if you'd like.  
  
Chloe begins shuffling through pages of notes on her desk, apparently the answers to some of the questions she asked Bruce for the interview. An eerie reminder of her youth, tiny hearts with the names "Chloe" and "Bruce" outline the border of each page.  
  
CLARK  
  
Chloe, we need to talk.  
  
She continues to organize, something else clearly on her mind. She's clearly only half listening to him at this point.  
  
CHLOE  
  
About what?  
  
CLARK  
  
About Bruce.  
  
This gets her attention, and her expression becomes very serious, though not yet defensive.  
  
CHLOE  
  
What about him?  
  
Clark's eyes wander around the room as the super boy awkwardly avoids making eye contact.  
  
CLARK  
  
Chloe, I don't really know how to say this. I've been hearing some pretty bad things about Bruce.  
  
Chloe's arms fold over in front of her and an eyebrow rises just a little higher on her forehead.  
  
CHLOE  
  
What do you mean? From who?  
  
CLARK  
  
Well, my parents for one, and Lex.  
  
Chloe rolls her eyes and shakes her head in disgust.  
  
CLARK  
  
Look, I think you really need to be careful around this guy. He's not who he seems.  
  
CHLOE  
  
And exactly how would you know that, Clark? You just had your longest conversation with him. You barely know him at all.  
  
CLARK  
  
And you do?  
  
Chloe goes into full defensive mode, standing up as she continues to organize her desk.  
  
CHLOE  
  
Yes, I do.  
  
CLARK  
  
How? You've had one date with the guy.  
  
She stops, staring straight up into his eyes.  
  
CHLOE  
  
Look, Clark, at the risk of sounding like a cheap harlot out of some lame paperback romance novel, Bruce and I really connected last night. He's sweet, and caring, and what's best of all is, at the end of our date, he was still there.  
  
CLARK  
  
That's not fair.  
  
CHLOE  
  
No, Clark, what's not fair is you coming in here and basically telling me that you trust Lex Luthor's judgment more than you trust mine.  
  
CLARK  
  
Chloe, you know that isn't true.  
  
CHLOE  
  
You know, I would hope not, because I've known you a heck of a lot longer than Lex Luthor and I think that should count for something.  
  
Very slight pause. Clark breaks it by turning the conversation back to Bruce.  
  
CLARK  
  
Look, Chloe, this guy's a player. I just don't want to see you get hurt.  
  
CHLOE  
  
Oh, like that's ever stopped you before.  
  
Clark clenches his teeth, the muscles in his jaw rippling over his face. For a moment, they stare at each other in silence. Carefully, Chloe allows her hurtful glare to change to one of regret as a sign of regret for saying what she just said.  
  
The school bell sounds.  
  
CHLOE  
  
I gotta get to class.  
  
She grabs her bag and starts for the door, avoiding making eye contact with Clark as she does.  
  
CHLOE  
  
I'll see you later.  
  
Chloe takes an abrupt, frustrated, right turn out the Torch door. After a few seconds, Clark heads for the door as well, pulling it open with a force of slight agitation. Clark, though, turns to the left, suddenly stopping in his tracks upon seeing Bruce Wayne standing silently, directly, in front of him.  
  
Bruce, his hands down at his sides, looks at Clark sternly.  
  
BRUCE  
  
Forgot my keys.  
  
Clark makes no apologies, merely nods, and starts to walk off passed Bruce. As he does, though, Bruce stops him, grabbing him by the left arm. The two fiercely stare into each other's eyes, each searching for a sign of intimidation that never shows its head.  
  
BRUCE  
  
If you have a problem with me, you come to me. ::leans in closer:: Don't. ever. do that again.  
  
Clark goes to say something, but thinks better of it. Instead, he elects to merely shrug the slightly shorter man's hand away, and continues down the hall towards whatever class beckons his attendance.  
  
Bruce stares down the hall for a moment, before entering back through the Torch door to retrieve his forgotten keys.  
  
EXT. LEX LUTHOR'S MANSION - DAY  
  
Lex Luthor's Ferrari drives up the long driveway of the Luthor estate. Shutting down the ferocious engine, Lex appears slightly confused as he walks by a BMW 7 series sedan parked in his driveway.  
  
Lex gingerly walks up the stone walkway to the mansion entrance. As he comes upon the massive, elegantly textured, wooden door he stretches out his hand to grasp the handle. Promptly, the handle disappears as the door opens, revealing a well dressed man behind it.  
  
Dressed in a light blue suit, a dark ugly tie, and a full rimmed hat, the elusive Jack grins devilishly at the bald billionaire. Lex stares back silently.  
  
INT. CLARK'S LOFTT  
  
Clark inhales deeply, careful not to breathe as he lowers the small plastic ball onto the tiny stub. Apparently satisfied with the appearance of the formerly headless miniature man, Clark leans back in his chair and admires the diorama.  
  
Footsteps. Clark turns to find Pete coming up the wooden steps.  
  
PETE  
  
Hey, Clark.  
  
CLARK  
  
Hey, Pete.  
  
PETE  
  
Your mom told me you were up here.  
  
Pete walks over to Clark and grabs a seat by the window. He points to the diorama.  
  
PETE  
  
That your project?  
  
CLARK  
  
Yeah, Chloe dropped it off a few hours ago. She stayed up all night working on it.  
  
PETE  
  
Looks pretty good.  
  
CLARK  
  
Yeah, it does. ::shrugs:: now that Orsino's head isn't glued on upside down anymore.  
  
PETE  
  
::confused:: Chloe did that? It's not like her to be that careless.  
  
Pete smiles and jokingly punches Clark in the arm.  
  
PETE  
  
That's more like something you would do.  
  
Clark smiles and rolls his eyes.  
  
CLARK  
  
It wasn't an accident.  
  
PETE  
  
Oh.  
  
They sit in silence for a moment as Pete looks for some other topic of random conversation before broaching the real reason he came. Eventually, he just gives up.  
  
PETE  
  
So, you gonna tell me what's going on between you two or what?  
  
CLARK  
  
She thinks that I trust Lex more than I trust her.  
  
PETE  
  
Why's that?  
  
CLARK  
  
::hesitates:: Lex told me some things about Bruce Wayne. He says the guy's a major player, that he uses people. My parents said the same thing. but when I told Chloe she got all defensive.  
  
PETE  
  
Well, Chloe really likes Bruce. How did you expect her to react?  
  
CLARK  
  
::shakes head:: I don't know.  
  
PETE  
  
Is she right?  
  
Now, Clark gets defensive.  
  
CLARK  
  
About what?  
  
PETE  
  
Do you trust Lex more than you trust her?  
  
CLARK  
  
What kind of a question is that?  
  
PETE  
  
One whose answer is obviously important to Chloe.  
  
The broken record continues.  
  
CLARK  
  
I just don't want to see her get hurt.  
  
PETE  
  
Clark, you've been hurting Chloe for three years.  
  
Silence. Neither knows what to say, although Pete clearly doesn't regret saying it. To be polite, he apologizes anyway.  
  
PETE  
  
Look, man, I'm sorry. I think it's just that, you've got all these powers and you've gotten so used to saving people, you thought you'd just swoop in and save Chloe from 'Big Bad Bruce'.  
  
Clark rolls his eyes, but Pete persists.  
  
PETE  
  
You've made your feelings towards Chloe clear. You guys are just friends, so, now you've got to trust her to handle this on her own.  
  
CLARK  
  
I know... I just don't trust Wayne.  
  
Pete takes a deep breath and smiles, shrugging away any tension.  
  
PETE  
  
Hey, I like to think Chloe's a pretty good judge of character. After all, ::puffs out his chest:: she picked us out didn't she?  
  
CLARK  
  
::laughs:: Yeah.  
  
PETE  
  
::jokingly:: Besides we've both seen Chloe on the warpath. If he tries anything, you'll probably need to save him from her.  
  
They share a laugh and conspicuously honest nods. Pete stands and puts his hand on Clark's shoulder.  
  
PETE  
  
Now, come on, let's go to my house. The game's on.  
  
CLARK  
  
Why your house?  
  
PETE  
  
Clark, my man, three words: Big - Screen - TV.  
  
The two friends head down the wooden stairs, leaving the diorama behind.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
The character of Christine and Raoul serenade each other during the finale of Act I of 'The Phantom of the Opera'. In the audience, Bruce Wayne and Chloe Sullivan sit side by side in sheer awe of the inspired performance.  
  
Chloe leans in over Bruce's shoulder and whispers something in his ear. He nods and stands, moving himself into the aisle allowing Chloe to stand and slip passed him. As she walks up the aisle, towards one of the theatre exits, Bruce sits back down to admire the performance on stage.  
  
CHRISTINE  
  
::singing:: All I want is freedom, a world with no more night. and you always beside me to hold me and to hide me.  
  
RAOUL  
  
::singing:: Then say you'll share with me one love, one lifetime. Let me lead you from your solitude.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - WAITING AREA  
  
Silently shutting the door behind her, Chloe sneaks through the waiting area and down a thin hallway, towards a door marked "Ladies Room". Despite being outside the main theatre, the sounds of 'Phantom' dominate, as the characters of Christine and Raoul continue to sing.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
Bruce Wayne admires the performance, quietly, from his seat despite the vacancy immediately to his left.  
  
CHRISTINE/RAOUL  
  
::singing:: Anywhere you go, let me go too. That's all I ask of you.  
  
The characters of Christine and Raoul gaze lovingly into each other's eyes.  
  
CHRISTINE  
  
::singing:: I must go - they'll wonder where I am. Wait for me Raoul.  
  
RAOUL  
  
::singing:: Christine, I love you!  
  
CHRISTINE  
  
::singing:: Order your fine horses. Be with them at the door!  
  
Bruce shifts in his seat, straightening his tie slightly.  
  
RAOUL  
  
::singing:: And soon you'll be beside me!  
  
CHRISTINE  
  
::singing:: You'll guard me, and you'll guide me.  
  
Bruce's intense stare has a thoughtful purpose. He leans back in his seat.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - LADIES ROOM  
  
The music continues to play. A pale blue door opens wide. Chloe steps out of the stall and walks over to the mirror. She smiles and bats her eyes, posing for later on. Unhappy with something, she removes her purse from over her shoulder and begins sifting through it, looking for something.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
Raoul and Christine hurry off stage as the orchestra begins to play a very slow, very dreary, piece. From behind a statue, the Phantom emerges.  
  
PHANTOM  
  
::slowly singing:: I gave you my music.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - LADIES ROOM  
  
Over the Phantom's singing, Chloe continues to sift through the contents of her purse when one of the stalls silently opens behind her. From his reflection in the mirror, a man can be seen standing in the open stall, dressed in a dark suit and full rimmed hat. The rim of the hat covers his face, but it's obvious who it is. The Phantom continues to sing.  
  
PHANTOM  
  
::slowly singing:: . made your song take wing. and now, how you've repaid me: denied me and betrayed me.  
  
As the Phantom sings the words, the man slowly lifts his gaze, and the rim of the hat slowly rises above a wide toothy grin. Jack stares at Chloe from inside the stall but she remains oblivious to his presence.  
  
PHANTOM  
  
::slowly singing:: He was bound to love you when he heard you sing. Christine.  
  
Triumphantly, Chloe silently applauds herself for having found the lipstick in her purse. She removes the cap and prepares to apply some to her lips when she looks into the mirror, puckering her lips. She jumps at the sight of the man staring at her from behind and turns in terror.  
  
PHANTOM  
  
Christine.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
Bruce watches the performance intently.  
  
RAOUL/CHRISTINE  
  
::singing:: Say you'll share with me one love, one lifetime. Say the word and I will follow you. Share each day with me, each night, each morning.  
  
The music begins to rumble loudly as the Phantom reappears above the stage, hanging from a magnificent chandelier. He appears angry and points accusingly at Raoul and Christine below.  
  
PHANTOM  
  
::slowly singing:: You will curse.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - LADIES ROOM  
  
Jack rushes and grabs Chloe, turning her around. She drops the lipstick and her purse as she struggles in his arms, but he covers her mouth with a white cloth in a gloved hand, muffling her cries. Her eyes begin to glaze over.  
  
PHANTOM  
  
::slowly singing:: .the day you did not do.  
  
Chloe struggles a little more, but to no avail. Her eyes roll back and she slumps back in his arms.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
Bruce's eyes open wide as the Phantom swings the chandelier, dangerously, back and forth.  
  
PHANTOM  
  
::slowly singing:: . all that the Phantom asked of you!  
  
Overcome with rage and desperation, the Phantom of the Opera begins to laugh maniacally, his evil cackle echoing throughout the main theatre.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - LADIES ROOM  
  
The Phantom's hideous laugh appropriately coincides with Jack's maniacal grin and wide eyes.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
Bruce looks on as the Phantom shakes the chandelier violently from above. The characters of Christine and Raoul look on in fright.  
  
The masked madman points to Christine and commands her from above.  
  
PHANTOM  
  
Go!  
  
The chandelier suddenly breaks from its hold and falls towards the stage below, the masked madman left hanging onto the ceiling above.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - LADIES ROOM  
  
Jack drags Chloe's lifeless body from the bathroom. The helpless young girl's purse, which had been teetering on the edge of the sink, falls off of the counter and to the tiled floor just as.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - MAIN THEATRE  
  
The chandelier slams to the stage at Christine's feet, narrowly missing the startled character. Act I ends and the audience stands up and applauds, including billionaire Bruce Wayne.  
  
INT. METROPOLIS OFF BROADWAY THEATRE - WAITING AREA  
  
Bruce Wayne leans silently up against a wall in between two of the doors leading into the main theatre. A crowd of well-dressed opera-goers mingle amongst themselves, making it difficult for Bruce to survey the crowd for his missing date. He doesn't seem to be able to find her and steals a glance down the hall towards the ladies' room. Confused, he inspects his watch, but it yields no solace.  
  
A uniformed usher steps in front of him and attempts to gain everyone's attention.  
  
USHER  
  
Excuse me, pardon me. If you would all be so kind as to make your way back to your seats. Act two shall be beginning shortly, thank you.  
  
Slowly, the crowd files passed Bruce and through the large theatre doors. Bruce places a hand in each suit pocket and watches everyone as they go by, carefully checking each face to make sure Chloe doesn't slip passed him. As the majority of the crowd now rests within the theatre, Bruce appears disappointed with no Chloe in sight. He hangs his head a bit and exhales softly.  
  
He takes one last look inside the theatre, to see if he'd missed her, but she's not there. He takes out his cell phone and opens it up as he begins walking towards the exit.  
  
BRUCE  
  
Alfred, I'm going to need an early pickup.  
  
Without bothering to listen for a reply, he closes the cell phone and puts it back in his pocket in one abrupt motion. Hanging his head, Bruce makes his way towards the exit when a woman, who is conspicuously carrying two purses and a lipstick, suddenly comes rushing out of the ladies' room. Bruce doesn't appear to notice her as she makes her way towards the usher.  
  
WOMAN  
  
Oh, dear me, I haven't missed anything, have I?  
  
USHER  
  
No, ma'am, the second act is just about to begin.  
  
WOMAN  
  
::relief:: Oh, good.  
  
Forgetting herself, the woman starts to head towards the entrance to the main theatre when she remembers the items in her hands.  
  
WOMAN  
  
Oh!  
  
She walks back towards the usher.  
  
WOMAN  
  
I found this purse and lipstick on the ground in the ladies' room.  
  
Bruce stops in his tracks and looks up, but doesn't turn around.  
  
WOMAN  
  
I'm not certain who they belong too.  
  
Bruce steals a glance back as the woman hands the purse and lipstick to the usher. He immediately recognizes them as belonging to Chloe. Strangely, though, he only quickens his pace out through the exit.  
  
USHER  
  
Thank you, ma'am, I'll be sure to place them in the lost and found.  
  
WOMAN  
  
Thank you.  
  
The woman hurries back into the main theatre and the usher closes the doors behind her. For a moment, he looks the purse and lipstick over, carefully examining them. Taking a quick glance from side to side, the usher slips the lipstick in his uniform chest pocket.  
  
Returning through the doors he just exited through, Bruce walks back into the theatre waiting area and walks straight towards the usher. As he approaches the man, trying to make a big deal out of it, he points to the purse in the usher's hands and exhales deeply.  
  
BRUCE  
  
Ah, thank goodness! Let me tell you, had we gotten all the way back to the hotel before realizing she had left that, there would have been hell to pay.  
  
The usher appears confused, but Bruce merely throws an arm over the man's shoulder and continues talking.  
  
BRUCE  
  
::talking fast:: You see Chloe, that's my date, she's come down with a bit of a cold. Well, I think it's more like the flu, with the nausea and the hacking cough.  
  
Bruce pretends to cough and playfully slaps the usher in the back.  
  
BRUCE  
  
::talking fast:: But you know how it is, they just don't want to admit it. "It's just a cold," they say, "I'll be fine." But then, they aren't fine, and you're stuck having to wait on them hand and foot and it just gets to be a real pain. That's why they pretend like it's nothing, after all, because they know if they say they're coming down with something we'll be out of there faster than spit out of a camel, ya know what I'm saying?  
  
Bruce laughs and slaps the usher on the back again. The poor man is thoroughly confused, and somewhat uncomfortable.  
  
BRUCE  
  
::talking fast:: Anyway, she went into the ladies' room to powder her nose.  
  
Bruce whirls the usher completely around so that they are now facing the direction of the ladies' room.  
  
BRUCE  
  
::talking fast:: . And wouldn't ya know it she starts to feel a little rumbling.  
  
Bruce makes a rumbling sound and bends over a little as if he's going to throw up.  
  
BRUCE  
  
::talking fast:: Well, anyway, you know where this is going don't you? I think you should really commend her though, darting out of here like that. She barely made it out the door, because she didn't want to mess up your fine establishment here.  
  
The usher appears very confused.  
  
USHER  
  
Excuse me, sir, but who are you?  
  
Bruce gingerly slaps the guy in the chin.  
  
BRUCE  
  
::talking fast:: Keep up with me, buddy, will ya. Anyway, so she just barely made it outside, so if I were you I'd tell one of your janitors or gardeners, I don't really know which department it would fall under at this point, but I'd tell one of those guys to get out there with a hose and a shovel and fix that up a bit. I just don't think that's what you want your patrons seeing, or smelling, when they walk up to the place.  
  
Bruce grabs the purse from the usher's hands and shows it to him.  
  
BRUCE  
  
::talking fast:: But anyway, she darted out in such a hurry - must've been the pork lo mein or something - she darted out in such a hurry, she just up and left her purse in the ladies' room. Can you believe that?  
  
Bruce laughs and jokingly hits the usher in the chest with the purse.  
  
BRUCE  
  
::talking fast:: Anyway, thanks a lot for finding this, I really appreciate it.  
  
Bruce slowly begins walking backwards towards the exit.  
  
BRUCE  
  
::talking fast:: You are a good man, let me tell you. You.  
  
Bruce points to the usher and smiles, doing his best Deniro impression.  
  
BRUCE  
  
You. You are a good man. Anyway, I'll be seeing, ya.  
  
Bruce abruptly turns and walks through the exit.  
  
Stunned, the usher remains silent. From inside the main theatre, the audience begins clapping as the second act begins. Once again, though, Bruce Wayne comes marching through the entrance. This time, he walks right up to the usher, sticks his hand in the man's chest pocket, pulls out Chloe's lipstick, and again turns and walks straight out the exit. The usher is speechless.  
  
EXT. METROPOLIS OFF BROADWAY THEATRE - NIGHT  
  
Bruce Wayne quickly puts some distance between himself and the theatre entrance, to discourage the usher from chasing after him if and when the man regains his senses. As Bruce reaches the edge of the sidewalk, he quickly begins examining the purse.  
  
Opening it up, Bruce begins shuffling through its contents. A rather attractive couple walks passed him as he's doing this and gives him a rather odd look. Eventually, Bruce finds something inside that seems to spark some interest.  
  
From inside the purse, Bruce pulls out a folded up page of newspaper. Sticking the purse under his arm to free his other hand, he opens it up. Across the top of the page, in big blue letters, reads the header "Smallville High Torch." More importantly though, and what draws Bruce's attention, is the headline across the top of the front page article. He reads it aloud.  
  
BRUCE  
  
::reading aloud:: Kidnapping Cop.  
  
Something specific about the headline also gets Bruce's attention. The letter "o" in both the "Torch" and "Cop" have distastefully been turned into smiley faces with rather demented looking grins. The byline beneath the headline reads "by Chloe Sullivan."  
  
Bruce goes on to read a section of the article which has been highlighted.  
  
BRUCE  
  
::reading aloud:: I left the medical center and walked to my car. A pair of gloved hands grabbed me. My attacker pressed a chloroform-soaked cloth against my mouth.  
  
His brow tightening, Bruce looks up from the paper just as Alfred drives up in front of the theatre with the limo. He thinks for a moment, then folds the paper up and places it back in the purse along with the lipstick.  
  
As if he's done it thousands of times before, Bruce manages to open the door to the limo, slip inside, and close the door all in one motion.  
  
BRUCE  
  
Bring me to the helipad, Alfred.  
  
ALFRED  
  
And the lovely Ms. Sullivan.?  
  
Bruce hesitates, looking at the purse in his hands.  
  
BRUCE  
  
She won't be joining us.  
  
He swallows hard. The limousine moves off into the cold Metropolis night.  
  
INT. THE TALON  
  
The Talon appears all but abandoned. Its young owner, Lana Lang carefully cleans up some stray dishes and mugs from behind the counter. After a short while, apparently satisfied with her tidying efforts, Lana flips a few switches behind the counter and most of the lights in the Talon turn off.  
  
Moving around the counter, Lana moves towards one of the tables where a neatly folded white sweater sits next to a set of car keys. In one motion, Lana grabs the sweater and keys and heads for the exit, but a piece of paper flies out from under the sweater and grabs her attention.  
  
The paper is no bigger than half the size of a sheet of loose leaf and glides back and forth before settling on the floor near Lana's feet. Leaning down and picking it up, she begins reading the thick red text which has been written across the entire sheet.  
  
LANA  
  
::reading aloud:: You forgot your backpack in your locker again. Go pick it up after closing.  
  
Her own name is neatly signed at the end of the note to herself. She sighs, already visibly tired, at the prospect of having to make her way over to the High School at.  
  
She looks over her shoulder at the clock on the wall. It reads as nine o'clock, plus seven. Rolling her eyes, Lana makes her way toward the door.  
  
EXT. THE TALON - NIGHT  
  
Lana zips up her sweater and locks the Talon doors behind her. Carefully, she approaches the edge of the sidewalk, looking in both directions before crossing. Satisfied, she tiredly makes her way across the street towards her car and gets in, taking a long deep breath as she does.  
  
LANA  
  
::to herself:: If you weren't forgetting things all the time, you could be going home now, but no. I swear I must have Alzheimer's or something.  
  
Suddenly, a bright light fills the interior of the car. Looking up, Lana is practically blinded by a pair of headlights that appear to be heading straight for her. Her eyes widen, as she momentarily freezes. The lights are growing bigger, and brighter, and the sound of a ferocious car engine slowly emanates from down the road.  
  
Panicking, Lana hurriedly rushes to find the ignition key amongst various other keys and frilly keychains of numerous shapes, colors, and sizes. Successful, her small victory is short, as the task of placing the key in the ignition under the overwhelming pressure of the reverberating engine sounds of the oncoming vehicle proves meddlesome.  
  
Her hand shaking, Lana seems all but incapable of finding the ignition, as the headlights of the oncoming car only further blind her. Finally, with one final scream, she manages to get the key into the ignition and turn it.  
  
The sound of her car's engine igniting is mute against the thunderous engine of the speeding roadster as it blasts by her car at incredible speeds. Prying open her clenched eyelids, Lana manages to steal a quick glance behind her, attempting to get a better look at the road menace which had just nearly killed her. Moving at impossible speeds, though, the vehicle is too far down the road to make out and Lana is left to merely shake her head and take a long deep breath, grateful to still be alive.  
  
EXT. SMALLVILLE HIGH SCHOOL - NIGHT  
  
Crickets chirp in the background as Lana Lang's car pulls up to Smallville High School. Peaking over the steering wheel, Lana becomes curious when she sees that there are actually two other cars parked in the parking lot. One of them is an old Acura of some kind. The other is a jet black Ferrari Enzo, which Lana spies curiously as she parks her car.  
  
Quickly, Lana steps out of her car and around the front, taking a long glance at the Enzo's license plate. It reads "W-A-Y-N-E."  
  
Curious, Lana continues on to the school entrance, but when she gets there she finds that the door is locked. She doesn't seem summarily surprised, but let's out a frustrated huff none the less.  
  
Before long, she decides to give up and turns to walk back towards her car, when the school door suddenly swings open.  
  
REYNOLDS  
  
Ms. Lang.  
  
Lana freezes, then turns.  
  
LANA  
  
Principal Reynolds, hi.  
  
Reynolds looks at his watch.  
  
REYNOLDS  
  
A little late, isn't it Ms. Lang?  
  
She smiles, sheepishly.  
  
LANA  
  
Yeah, I know.  
  
REYNOLDS  
  
What are you doing here so late?  
  
LANA  
  
I left my backpack in my locker.  
  
REYNOLDS  
  
The school closes down to students at seven, Ms. Lang, you know that.  
  
LANA  
  
I know, Principal Reynolds, I was kind of hoping to catch a janitor or someone to let me in.  
  
Reynolds stares at her for a while, rather condescendingly. If Lana could shrink herself, she would, but she settles for taking an embarrassed step back.  
  
REYNOLDS  
  
::nods:: All right, Ms. Lang, you have five minutes.  
  
Reynolds opens the door and raises his watch to look at it again. Lana smiles at him as she scurries passed.  
  
LANA  
  
Thank you, Principal Reynolds.  
  
Reynolds huffs loudly and shakes his head.  
  
INT. SMALLVILLE HIGH SCHOOL - HALLWAY  
  
Lana quickly hurries down the hall towards her locker. Upon reaching it, she very adeptly works at the combination lock to open it, when her attention is drawn elsewhere. The hallway is dark, all the lights turned out, except for a single flickering light emanating from the Torch office.  
  
With the curiosity of a doomed cat, Lana forgets about her locker and approaches the light.  
  
LANA  
  
Chloe?  
  
No response. A sound, and then a click... The light continues to flicker.  
  
LANA  
  
Hello?  
  
Her voice eerily echoes throughout the abandoned hallway. As she draws nearer, there is another sound, like a window being drawn open. Despite the warning from the chill running down her spine, Lana continues towards the office, coming upon the door.  
  
INT. THE TORCH  
  
Slowly, the door to the Torch office opens and Lana Lang peaks in.  
  
LANA  
  
Hello?  
  
The office is dark, except for a now steady light emanating from a large rectangular shape on a stand, facing away from Lana. Slowly, carefully, she approaches it and finds that it is a television that has been mounted on a large black stand with a shelf. On the shelf is a VCR, hooked up to the television, with a video cassette sticking out of it.  
  
Lana reads the label on the video tape aloud.  
  
LANA  
  
::reading label:: Help me.  
  
Confused, Lana stares for a moment at the blue screen displayed on the television before she is distracted by the sound of squealing tires out in the parking lot. Reynolds can also be heard screaming after the assailant.  
  
Concerned, and curious, Lana remains focused on the television, pushing the video tape into the VCR. The word "PLAY" begins to flash on the screen, when the picture suddenly changes.  
  
The tape plays a hideous scream over the image of an enormous clown's face. A large toothy grin is parted down the middle by a giant gap, as the cardboard face laughs hysterically to its self, giving it a very life-like appearance.  
  
As the scream dies down, it is replaced by someone crying.  
  
KIDNAPPER  
  
Awe. Don't cry, honey. Everything's gonna be ok.  
  
Slowly, the clown face retreats and it is revealed to be a mask being worn by a man dressed in a suit and a full rimmed hat of some kind. Lana appears disgusted, but continues watching.  
  
KIDNAPPER  
  
::upbeat:: You'll see.  
  
Lana slams against the desk behind her in shock as the man moves to the side, revealing what's behind him.  
  
Tied to a chair, gagged, and blindfolded, Chloe Sullivan struggles at her bindings as the masked man leans down next to her. Her dress is torn, her hair frayed, and streaks of makeup run down her face where teardrops previously wore paths in the skin. She is crying.  
  
LANA  
  
Chloe!  
  
The masked man runs a glove hand over Chloe's face, mock calming her. He even giggles slightly from behind the mask.  
  
KIDNAPPER  
  
We just have to wait for the rest of our guests to arrive. After all, we wouldn't want to be rude now, would we?  
  
Apparently looking for an answer of some kind, the masked man pulls down Chloe's gag.  
  
CHLOE  
  
::crying:: Help me! Please, help me!  
  
The masked man laughs and reinserts the gag, allowing it to once again muffle poor Chloe's cries for help. Standing, the man again turns to face the camera.  
  
KIDNAPPER  
  
::gleefully:: Now just remember, the directions are on the invitation I sent you. It's the house with all the balloons. You can't miss it.  
  
Suddenly, the man in the mask rushes towards the camera and the clown face once again fills the entire screen.  
  
KIDNAPPER  
  
::deep and serious:: And don't be late!  
  
The picture fades to darkness and all we can hear are Chloe's cries for help. Lana begins to cry, left all but helpless by what she has just seen.  
  
EXT. PETE'S HOUSE - NIGHT  
  
Pete quickly runs up the well lit steps to his front porch. Giving a quick look behind, Pete yanks the front door open and rushes inside.  
  
INT. PETE'S HOUSE - KITCHEN  
  
A big smile is etched across Pete's face. Out of breath, he stumbles into the kitchen, looking behind himself as if expecting someone.  
  
PETE  
  
Hah! Super speed my.  
  
Someone clears their throat. Turning, Pete realizes that Clark is already in the kitchen and shakes his head.  
  
PETE  
  
Man.  
  
CLARK  
  
::smiling:: Too slow.  
  
PETE  
  
Yeah. well. I'm still better than you at math.  
  
Clark nods, graciously allowing Pete his small victory. Pete, meanwhile, walks over to the refrigerator and takes out a pitcher of water.  
  
PETE  
  
Next time I get the full two minutes.  
  
CLARK  
  
It only takes you a minute and a half.  
  
PETE  
  
Yeah, and I'd still probably lose.  
  
They laugh.  
  
Just as Pete goes to take a sip of water, the phone rings. Still out of breath, he shrugs and motions for Clark to pick it up.  
  
CLARK  
  
::answering the phone:: Ross residence.  
  
INT. THE TORCH  
  
Lana, half hysterical, seems surprised to hear Clark's voice on the other end of the line, but only briefly.  
  
LANA  
  
::panicked:: Clark, it's Lana, something terrible has happened to Chloe. I called the police and they're on their way but I don't know what to do. I called your house but no one picked up, and.  
  
INT. PETE'S HOUSE  
  
Concerned, Clark struggles to make out what Lana is telling him.  
  
LANA (over phone)  
  
. I tried calling Mr. Sullivan, but he's not home either and.  
  
Pete can tell something's wrong just by looking at Clark's expression change.  
  
CLARK  
  
Wait a minute, Lana, slow down. What happened to Chloe?  
  
PETE  
  
Chloe? Isn't she out with Bruce Wayne again tonight?  
  
INT. THE TORCH  
  
Lana begins pacing with the phone in her hand, doing her best to avoid eye contact with the television.  
  
LANA  
  
::panicked:: I think someone kidnapped her. There's this tape here, in the office, and on it is a guy and he's got Chloe all tied up, and she's crying, and I think he's going to hurt her.  
  
INT. PETE'S HOUSE  
  
Pete, obviously worried by the looks he keeps getting from Clark, grows impatient.  
  
PETE  
  
What's she saying? What happened to Chloe?  
  
CLARK  
  
Chloe's been kidnapped.  
  
PETE  
  
Again!?  
  
CLARK  
  
Lana, tell me about the tape. Does it say where they are? Does he say where he's holding Chloe?  
  
INT. THE TORCH  
  
Lana stops and looks at the television for a second. She has it paused with the sadistic clown mask filling the entire screen.  
  
LANA  
  
::panicked:: No. I mean, I don't know. The guy says something about a house with balloons on it.  
  
INT. PETE'S HOUSE  
  
Clark's mind immediately goes to work at the new piece of information, but judging by the crease in his forehead, to no avail.  
  
CLARK  
  
House with balloons on it.? House with balloons on it...  
  
PETE  
  
House with balloons on it? What does that mean?  
  
CLARK  
  
The guy who kidnapped Chloe said something about a house with balloons on it.  
  
Pete and Clark think a while longer on the new information.  
  
INT. THE TORCH  
  
Lana begins to pace again and the cord to the telephone runs over the desk and knocks some papers onto the floor. Easily frustrated in her current state, Lana ignores them and walks to the other side of the office.  
  
LANA  
  
Clark, I'm really scared. I think this might have something to do with Bruce Wayne. When I got here, his car was parked in the parking lot.  
  
INT. PETE'S HOUSE  
  
Clark is now, not only worried, but visibly angry.  
  
CLARK  
  
I knew it. Lex warned me about him.  
  
PETE  
  
You think Bruce Wayne had something to do with this?  
  
CLARK  
  
She saw his car in the parking lot. I'll bet he was the one who planted the tape. ::into phone:: Now, Lana, is there anything else on the tape that might give you a clue as to where they are?  
  
INT. THE TORCH  
  
Lana holds the phone to her ear but is now transfixed on the eyes of the clown face on the television screen.  
  
CLARK (over phone)  
  
Is there anything at all that might indicate where he could be keeping her, where they might be?  
  
Lana, shaking her head, tears her eyes away from the television screen by looking straight down at her feet as she begins to pace again.  
  
LANA  
  
::shaking head:: No, there's nothing. It's really dark. All I can see is Chloe and him. I just don't.  
  
She stops, her feet settling on one of the pieces of paper she previously knocked to the floor with the telephone cord. Looking down at it, Lana freezes.  
  
The paper Lana is standing on is the same sheet of newspaper that Bruce pulled out of Chloe's purse earlier, right down to the grizzly smiley faces. For a moment, Lana merely stares at the paper, more precisely, the front page picture that goes with the article.  
  
INT. PETE'S HOUSE  
  
After a long pause on Lana's end, a worried Clark chimes in.  
  
CLARK  
  
::worried:: Lana? Lana, are you there?  
  
INT. THE TORCH  
  
Lana steps back, lifting her feet off the sheet of paper. Bending down, she picks it up and looks closely at the picture.  
  
The picture is one of Chloe, triumphantly standing in front of the amusement park where the "Kidnapping Cop" had held her captive. Although the picture shows a large portion of the amusement park behind Chloe, one building in particular, far in the background, catches Lana's attention. Painted on the walls of the building, are hundreds of balloons.  
  
LANA  
  
Oh my god, Clark.  
  
INT. PETE'S HOUSE  
  
Clark listens intently and Pete stands close by, trying to move his ear to the phone so that he can hear Lana too.  
  
LANA (over phone)  
  
I know where they are.  
  
EXT. AMUSEMENT PARK - NIGHT  
  
All is quiet in the amusement park. The various rides and attractions remain motionless. A Ferrari Enzo, with Gotham City license plates, sits just outside the main entrance to the park, a single occupant inside.  
  
Bruce Wayne, sitting in the driver's seat of the Ferrari, looks at the car's onboard clock. Dissatisfied, he checks it with his own watch. The time's match, but this only frustrates him more.  
  
He looks outside, carefully spying the building with the balloons painted on its walls from a safe distance. After looking at his watch again, he relents.  
  
BRUCE  
  
They should have been here by now.  
  
He opens the door and steps out, not even bothering to close it. Taking a deep breath, he carefully and quietly makes his way through the amusement park entrance.  
  
Bruce is very careful as he makes his way deeper into the park, hiding behind buildings and trees, making sure not to leave himself out in the open. Eventually, he comes upon a small building housing park restrooms, and he pushes himself up against one of its walls for cover.  
  
He peaks his head out, scoping the entrance to his target building. Above the entrance is an enormous sign with two big clowns holding up a cardboard mirror. Above them, in big bubble letters, a sign reads "Funhouse of Mirrors". Satisfied, Bruce makes his way towards the entrance, quietly opening the door and stepping through.  
  
INT. AMUSEMENT PARK - FUNHOUSE OF MIRRORS  
  
Bruce quietly closes the door behind him, careful not to make a sound. Turning, he is startled by several men who appear to be standing all around him. He takes a fighting stance, only to realize that each man is just a reflection of himself.  
  
The Funhouse of Mirrors is setup as an elaborate maze made up of hundreds of mirrors. With very little light, mainly due to the moonlight shining through a skylight in the ceiling, it is very difficult for Bruce to tell where there is a clear path and where there is a mirror.  
  
Sticking out his hand towards what he believes to be an open pathway, Bruce is disturbed to find that it is actually only a reflection. His hand makes a firm imprint on the glass.  
  
BRUCE  
  
::quietly:: Wonderful.  
  
Slowly, and cautiously, Bruce attempts to move his way through the mirror maze. As he turns a corner, he spots something out of the corner of his eye and quickly turns to defend himself. It is only his own reflection.  
  
Continuing on, Bruce finds himself in a particularly twisting and turning section of the maze. As he turns a corner, from behind him, we can see someone else's reflection quickly dart by one of the mirrors. It is gone as fast as it came and Bruce doesn't seem to have noticed it.  
  
Turning another corner, Bruce comes upon a new reflection and takes a breath. This new section of the maze is a long, straight, corridor with mirrors on either side and one at the far end. The reflection on the far mirror belongs to Chloe. She is still bound, gagged, and blindfolded, and upon seeing her Bruce makes a hasty beeline for the end of the corridor.  
  
BRUCE  
  
Chloe.  
  
Adeptly avoiding crashing into the mirror, Bruce makes a quick left at the end of the corridor. Chloe remains seated in the chair, surrounded by an odd formation of mirrors all around her. This section of the maze is shaped like a large octagon, but with open passageways at every other side.  
  
Intent on saving Chloe, though, Bruce rushes to her side and quickly removes her gag and begins removing the blindfold.  
  
BRUCE  
  
::quietly:: Chloe.  
  
Aware of his presence, but before the blindfold is completely removed, Chloe responds.  
  
CHLOE  
  
::greatfully:: Clark!  
  
Once the blindfold is completely removed, Chloe is surprised to see that it isn't Clark at all. Bruce ignores her error, though, and continues to untie her.  
  
BRUCE  
  
No, it's Bruce. Stay quiet, we have to get you out of here.  
  
He frees her hands first, allowing her to help him untie the binds on her legs and feet. Once she is completely free, she gives him a quick hug and then looks up, for the first time aware of her surroundings. She cringes.  
  
CHLOE  
  
God, I hate amusement parks!  
  
Bruce removes his tuxedo jacket and wraps it over Chloe's arms, then grabs her hand and starts to make his way back the way he came.  
  
BRUCE  
  
The police will be here any minute, but we have to.  
  
KIDNAPPER  
  
I wouldn't count on that if I were you.  
  
Bruce turns and is suddenly face to face with the kidnapper, still wearing the mask. Instantly reacting, Bruce swings around with his fist and slams it as hard as he can into the man's face. The clown's satanic grin quickly shatters into shards of broken glass, some of which embed themselves into Bruce's hand, causing it to bleed.  
  
Bruce cries out in pain, Chloe in fear, as a quick click can be heard from behind them. It is the all too familiar sound of a gun being cocked.  
  
KIDNAPPER  
  
Nice hook.  
  
BRUCE  
  
Bad aim.  
  
KIDNAPPER  
  
I assure you, I won't make that mistake.  
  
With his good hand, Bruce grabs Chloe by the wrist and pulls her behind him, as the kidnapper points the gun at them.  
  
BRUCE  
  
Chloe, get behind me.  
  
KIDNAPPER  
  
No. She can go.  
  
The kidnapper motions towards one of the adjacent paths out of the maze with his gun.  
  
KIDNAPPER  
  
She's served her purpose. I won't be needing her anymore.  
  
Skeptical, Bruce keeps his eyes focused on the kidnapper, the man's eerie reflections in the mirrors behind him making him seem ten times as imposing.  
  
BRUCE  
  
The car's parked outside the main entrance, Chloe. It's unlocked and the keys are inside.  
  
Chloe stares at Bruce for a minute, and then back at the kidnapper. Each man is focused on each other, so neither seems to notice her.  
  
CHLOE  
  
::shaking head:: No.  
  
BRUCE  
  
::forcefully:: Chloe, go.  
  
Chloe shakes her head again and swallows hard.  
  
CHLOE  
  
No, I won't.  
  
Bruce now has no choice but to take his eyes off the kidnapper. He turns and faces her.  
  
CHLOE  
  
I won't go, he's going to kill you.  
  
BRUCE  
  
Chloe.  
  
Her eyes begin to tear as she starts to panic.  
  
CHLOE  
  
::shaking head:: No, he's going to kill you. He kidnapped me to lure you here and now he's going to kill you. I won't leave.  
  
Bruce grabs her by both arms and sticks his face right up to hers.  
  
BRUCE  
  
Chloe. Please. ::softly:: I don't want you to see this.  
  
Looking back at the kidnapper, and then at Bruce, Chloe comes to the realization that her options have run dry. Trying to keep herself from crying, she merely gives in, and wraps her arms around Bruce for what she obviously believes will be the last time.  
  
After a few seconds though, she begins shaking her head again and separates herself from him, wiping the tears from her eyes.  
  
CHLOE  
  
No, you're not going to die. I'll go get help. I can go get help.  
  
She continues repeating it, trying to convince herself more than anyone else. Bruce, to his credit, humors her by nodding his head and smiling.  
  
BRUCE  
  
Go get help.  
  
Chloe backs her way down one of the mirrored pathways, still fighting back the tears.  
  
CHLOE  
  
I'm going to go get help. I'll be right back, I promise.  
  
She turns a corner, starts into a sprint, and disappears.  
  
Bruce hangs his head and turns back to face the kidnapper.  
  
BRUCE  
  
They're not coming are they?  
  
The kidnapper remains silent for a moment, then raises his free hand, removing his mask. To no one's surprise, Jack is the kidnapper.  
  
Shaking his head, Jack smiles out of pity for the helpless billionaire.  
  
JACK  
  
It seems there's been a sudden outbreak of criminal activity in Smallville. ::grins:: I'm afraid it will probably take them quite some time to sort it all out.  
  
BRUCE  
  
You went to a lot of trouble getting me here. Who are you?  
  
Again, the sadistic Jack smiles, stealing a quick glance up at the moon, through the skylight.  
  
JACK  
  
Just your resident devil in the moonlight.  
  
EXT. AMUSEMENT PARK - NIGHT  
  
Chloe, having found her way out of the Funhouse of Mirrors, makes a mad dash for main park entrance. Half in hysterics, she moves erratically, nearly tripping over a rogue garbage can on her way.  
  
From down the road, Clark Kent runs towards the amusement park at super speeds. Seeing Chloe running towards him, Clark quickly slows down to normal running speed.  
  
CLARK  
  
Chloe!  
  
Upon seeing him, Chloe stops and screams out.  
  
CHLOE  
  
Clark!  
  
They run to each other and Clark quickly wraps his arms around her, but she immediately pushes away.  
  
CHLOE  
  
::hysterical:: We have to get help! He's going to kill him! He's going to kill him!  
  
CLARK  
  
Who? Who's going to kill who?  
  
CHLOE  
  
::hysterical:: He's going to kill Bruce! We have to get help, Clark. He's going to kill.  
  
A gunshot rings out.  
  
Everything goes silent and Chloe is frozen. Her expression goes blank. From around Chloe's shoulder, Bruce's tuxedo jacket slips, and falls down to the pavement.  
  
Clark looks up towards the Funhouse. Using his X-Ray vision, Clark looks through one of the walls. The image isn't clear, but he can see two human forms, one of them holding a gun. The other person, standing in front of the man with the gun, falls to his knees and then forward, lying motionless on the ground. The man with the gun slowly walks away and out the back of the Funhouse.  
  
Chloe, still frozen in place, silently cries. Clark, not knowing what else to do, merely holds her. 


End file.
